Let's not have a repeat of Green Book.
In most regards, the 2020 Oscars are already a disappointment.
In a year full of cinematic diversity, from Lulu Wang's brilliant The Farewell and Greta Gerwig's revitalization of Little Women to Lupita Nyong'o's haunting turn in Us, the major category Oscar nominations are all too blatantly white and male.
Across all four Best Actor/Actress categories, 20 nominations in total, only one POC was named––Cynthia Erivo for her leading role in the Harriet Tubman biopic, Harriet. Apparently Awkwafina's Golden Globe-winning performance of a Chinese-American woman coping with a looming familial death from two conflicting cultural perspectives in The Farewell was not worthy of a spot over Charlize Theron playing former Fox News host Megyn Kelly.
The Best Director nominations are also, once again, entirely male, with Greta Gerwig getting categorically snubbed, despite Little Women receiving nods for Best Picture, Best Adapted Screenplay, Best Actress, and Best Supporting Actress. But at least that's better than the Oscar's treatment of Lulu Wang, who got snubbed entirely. Todd Phillips' Joker, on the other hand, received 11 nominations, more than any other movie this year, which says pretty much everything anyone needs to know about the 2020 Oscars… Or at least it would, if not for Parasite's Best Picture nomination.
In the entire history of the Oscars, only six foreign language films have been nominated for both Best International Film (formerly "Best Foreign-Language Film") and Best Picture. All of them have won the International category, but none have ever taken home the grand prize. After all, for an International Film to win Best Picture, that would require the Academy's overwhelmingly white male voting body (as of 2018, out of 8,000 members, 84% are white and 69% are male) to agree that a movie made by a POC outside of Hollywood is better than anything produced from within (and, more importantly, to actually read subtitles).
A lot of people were surprised by the 2019 Oscars when Green Book––a movie about race relations from the perspective of a white director, white writer, and white protagonist––beat Roma, Alfonso Cuaron's intimate portrayal of a poor Mexican housekeeper. In retrospect, the Academy's choice makes sense. Roma feels like an art film, whereas Green Book practically shouts, "It's okay, white people, we solved racism through friendship!" Considering the Academy's demographic, it was the obvious choice.
But that was 2019, and this is 2020. If the Oscars hope to maintain any glimmer of relevance in the new decade beyond just another masturbatory awards show where Hollywood elites pay lip service to diversity while endlessly patting white men on the back, Parasite needs to win Best Picture.
For one, Parasite absolutely deserves it. Bong Joon-ho's darkly comedic thriller about South Korea's class divide is unique, impactful, and more timely than any other film this year. Its themes surrounding ambition, desperation, loss, and social immobility both feel specific to South Korea, and maintain a universality that connects with audiences around the world. Joon-ho's direction and writing (he was also nominated for Best Director and Best Original Screenplay) were spot on, approaching all of its characters with distinct empathy while subjecting them to some of the most brutal, unpredictable twists of any thriller in recent years. The acting was phenomenal too, and it's worth noting that Song Kang-ho's omission from the Best Lead Actor category displays a clear failure on the Academy's part to recognize the humanity of Asian actors and characters.
Still, Parasite seems better poised to win Best Picture than any international film in years past. That's not to knock any of the international Best Picture nominees that came before it, but rather to comment on the modern era. People are more globally connected than ever, thanks to the Internet, and Parasite falls into an overwhelmingly popular, accessible genre and encompasses universally appealing themes. In other words, the only barrier to entry is the subtitles.
It's time for Hollywood to recognize that as the world becomes more internationally connected, white western media can no longer be considered the end-all and be-all of cultural influence. Bong Joon-ho is living proof that some of the most important, talented artistic voices of our era are not white, American men and that diversity is a gift to creativity.
- Here Are the Very White Male Oscar Nominees - Popdust ›
- Golden Globes 2020 Nominations: 5 Surprises And 5 Snubs - Popdust ›
- "The Invisible Man," "Parasite," and the New Haunted House - Popdust ›
- Oscar Nominations 2020: 'Joker' and 'Irishman' Lead the Nominees ... ›
- Oscars 2020: The serious film award contenders and outsiders, from ... ›
- 92nd OSCARS SHORTLISTS | Oscars.org | Academy of Motion ... ›
- Oscars: Can 'Parasite' Break the Best Picture Tradition? | Hollywood ... ›
- Oscar nominations: 'Parasite' first-ever Korean best picture nominee ... ›
- The 2020 Oscar Will Go to One of These Films | Fortune ›
- 2020 Oscar Nominations List: 'Joker,' 'Parasite' | IndieWire ›
- Will the South Korean Film Parasite Make History at Oscars 2020 ... ›
- 'Joker,' '1917,' 'Parasite' Lead 2020 Oscar Nominations - Rolling Stone ›
- Parasite: The cast deserves Oscars — and didn't get nominated - Vox ›
The classic He-Man meme video stands the test of time as an iconic example of queer-coded art.
In December of 2005, Brokeback Mountain shifted queer-coded cinema into the mainstream.
Prior to 2005, "New Queer Cinema"––a term coined by film scholar B. Ruby Rich in Sight & Sound to define the queer-themed independent film movement, which focused on rejecting heteronormativity and concentrated on LGBTQ protagonists––existed on the fringe of the film world. It's worth noting that while the movement primarily refers to the boom in independent LGBTQ films from 1992 onwards, queer cinema existed for many years prior, albeit without a proper name. But regardless of nomenclature, New Queer Cinema was typically designated for niche audiences, relegated to arthouse showings at best.
There's a big problem with the trailer for Morbius, Sony's upcoming Marvel outing that is definitely not part of the Marvel Cinematic Universe even though it has Michael Keaton reprising his role as Vulture (please let us keep our license, Disney!).
See if you can spot it.
MORBIUS - Teaser Trailer www.youtube.com
If you answered, "Sampling Beethoven's 'Für Elise' to line up with blue-tinted action shots is the absolute lowest effort, brain-dead attempt to signify 'gothic vampire movie' in the entire history of movie trailers," you're correct, but that's still not the biggest problem with Morbius. No, the biggest problem is that Morbius is played by Jared Leto.